Ella Jenkins with members of the Urban Gateways Children's Chorus You'll Sing a Song and I'll Sing a Song

1. You'U Sing a Song and I'U Sing a Song 4:20 (Ella JenkinslRiver Bend Music, Inc., ASCAP)

2. shabot Shalom 0:46 (Traditional, arranged by Ella Jenkins)

3. Cadima 1:37 (Traditional, arranged by Ella JenkinslRiver Bend Music. Inc .. ASCAP)

4. This Train 3:02 (Traditional, arranged by Ella JenkinsiRiver Bend Music. Inc .. ASCAP)

5. Did You Feed My Cow? 3:12 (Traditional, music by Ella JenkinslRiver Bend Music, Inc., ASCAP)

6. Miss Mary Mack 1:56 (Traditional, music by Ella JenkinslRiver Bend Music, Inc. , ASCAP)

7. May-ree Mack 2:11 (Traditional, last verse by Ella JenldnslRiver Bend Music, Inc. , ASCAP)

8. You'U Sing a Song and I'U Sing a Song (review) 2:41

9. Dulce Dulce 1:16 (Ella JenldnslRiver Bend Music. Inc., ASCAP)

10. May-ree Mack (review) 2:18

11. Maori Indian Battle Chant 0:31 (Adapted by Ella JenkinslRiver Bend Music, Inc., ASCAP)

12. Did You Feed My Cow? (review) 2:33

13. I Saw 2:20 (Ella JenkinslRiver Bend Music, Inc., ASCAP)

14. Sifting in the Sand 1:10 (Traditional, adapted by Ella JenkinslRiver Bend Music, lnc., ASCAP)

15. Guide Me 3:02 (Traditional)

Also by Ella Jenkins on Smithsonian/Folkways: This·a·way, That·a·way (SF 45002) American Negro Folk and Work Song Rhythms (SF 45003) Rhythms and Chants (SF 45004) My Street Begins at My House (SF 45005) We Are All America's Children (SF 45006) Adventures in Rhythm (SF 45007) Traveling with Ella Jenkins (SF 45009)

Many other Ella Jenkins albums are scheduled for re·release. Please write to Smithsonian/Folkways for current information.

SMITHSONlANlFOLKWAYS CD SF 45010 IAIAIQ]

Smithsonian Folkways Records

Folkways Records was one of the largest independent record companies of the mid· twentieth century. Founded by Moses Asch in 1947 and run as an Independent company until its sale in t 987, Folkways was dedicat· ed to making the world of sound available to the public. Nearly 2,200 titles were issued. including a great variety of American folk and traditional music. children's songs, world music, Ilterature. poetry. stories, docu· mentaries. language Instruction and science and nature sounds.

The Smithsonian acquired Folkways in order to ensure that the sounds and the genius of the artists would continue to be available to future generations. Every title Is being kept in print and new recordings are being issued. Administered by the Smithsonian's Office of Folklife Programs. Folkways Records Is one of the ways the Office supports cultural c.on· sorvation and continulty. integrity. and equity for traditional artists and cultures.

Several hundred Folkways recordings are distributed by Rounder Records, The rest are available on cassette by mall order from the Smithsonian Institution. For information and catalogs telephone 2021387-3262 or write Folkways. Office of Folklife Programs. 955 L'Eofant Plaza, Suite 2600. Smithsonian Institntion. Washington. D.C. 20560. U.S.A.

YOU'LL SING A SONG AND I'LL SING A SONG Ella Jenkins with members of the Urban Gateways Children's Chorus

YOU'LL SING A SONG AND I'LL SING A SONG

(Composed by EUa Jenkins. c. 1966 River Bend Music. Inc" N.Y .• ASCAP) Chord Lyre is played by Mary Goodwin.

Ella: You'll sing a song And I'll sing a song Then we'll a sing a song together You'U sing a song And I'll sing a song In warm or wintry weather.

Group: (Repeats above verse,)

Ella: You'll playa tune (leads out)

Group: .. . And I'll playa tune.

Ella & Group: Then we'll playa tune together You'll playa tune And I'll playa tune In warm or wintry weather.

Ella & Group: (Make sound oJ instru­ments.)

Bumm, bumm, bumm-bumm; whirrr, whirrr, whirrr-whirrr. etc.

Ella: You'll hum a line

Group: .. . And I'll hum a line

Ella & Group: Then we'll hum a line together Hum ...

Ella: You'll whistle a while

Group: . . . And I'll whistle a while

Ella & Group: Then we'll whistle a while together Whistle.

(Mary plays chord lyre.)

Ella & Group: (Repeat entire song.)

EUa speaks lines on aU verses. Explains one snap (finger), clap, etc .. per word. The song ends wiLh Lhe leader softly and slowly repeating " In warm or wintry weather .•

Chord Lyre

The song should create a happy mood. It's an easy one to involve both chiJdren and adults. The more you sing it, the more you should feel a part of it.

SHABOT SHALOM (fiad .. arranged by Ella Jcokins.)

Learned from a religious youg man whose name is Jon. This song wel­comes the Jewish Sabbath.

Ella: Shabot shalom Shabot shalom Shabot shabot shabot shabot shalom.

Group: Shabot shalom Shabot shalom Shabot shabot shabot shabot shalom.

Shabot shalom ... Finger snaps (fIold hands above head;

snap on the after-beat.) Shabot shalom ... Hand claps Shabot shalom ... Finger cymbals

CADIMA (Trad.: arranged by Ella Jenkins. c.1966 River Bend Music. Inc .. N.Y., ASCAP)

Translated from the Hebrew, tile title reads "Forward!" Before Israel was a nation, the emphasis in Palestine was on the pioneer, the worker - or, in Hebrew, the "hopoel." When Israel became a new nation in 1947, the focus was upon the young nation itself. The new cry was "Forward. Israel!" -Cadima, Yisroel.

Leader: Cadima

Group: Cadima

Leader: Cadima

Group: Cadima

Leader: Cadima, hopoel ..

Group: Cadima, hopoel .

Leader: Hey, hey, cadima. hopoel

Group: lIey, hey, cadima, bopoel

Finger Cymbals

Leader: Cadima hey!

Group: Cadima hey!

Leader: Cadima hey!

Group: Cadima hey!

Leader: Cadirna hopoel

Group: Cadima bopoel

Leader Hey, hey, cadima, hopoel

Group: Hey, hey, cadima. hopoel.

Ella: La-la, la-la, la-Ia. la-la, La-la, la-Ia-Ia-Ia

Group: La-la, la-la, la- la, la-la, La-la, la-Ia-Ia-Ia

Ella: La, la, la, la, La-la, la la la la

Group: La, la, la, la, La-la, la la la la

Ella: La. la, la. la, La-la, la- la,

Group: La, la, la, la, La-la, la-Ia.

Ella: Cadima

Group: Cadima

Ella: Cadima

Group: Cadima

Ella: Cadima, Yisroel

Group: Cadima, Yisroel

Ella: Hey, hey, cadima, Yisroel!

Group: Hey, hey, cadima, Yisroel!

Ella: Cadi rna, hey!

Group: Cadima, hey!

Ella: Cadima, hey!

Group: Cadima, hey!

Ella: Cadima, Yisroel

Group: Cadima, Yisroel

Ella: Hey, hey. cadima, Yisroel

Group: Hey, hey, cadima, Yisroel

Ella (jading): Hey. hey, cadirna, Yisroel

Group (slow Jade): Hey, hey, cadima, Visroel.

THIS TRAIN (Trad.: arranged by ElJa Jenkins. c.1966 River Bend Music. Inc .• N.Y .• ASCAP) Baritone ukulole accompanimenl

Ella: This train is bOUJld for glory This lrain is bound for glory This train is bound for glory Children, get on board.

Chorus: No more weeping and a-wailing No more weeping and a-wailing No more weeping and a-wailing, Children. get on board.

(Speaking): This u'ain is bound for glory.

Group (Sings first verse and chorus): This train is bound for glory. etc. Chorus

Th is train has no strangers. etc .. Chorus

This train is bound for freedom, elc .... Chorus

This lrain is leaving in the morning, etc .... Chorus

Ella: (Repeat "Children. get on board" three times, the last time holding the note . . . "board." Group can harmonize the ending.)

DID YOU FEED MY COW? (Trad. words: music composed by Ella Jenkins. c.R iver Bend Music,lnc .• N.Y" ASCAPI

I've recorded this little memory-tester chant three times, and each time with a different group. It has a way of chang­ing as it encoWlters different personali­lies, groups. etc.

Ella (speaking): I' m going to ask you a group of questions. I'll give you aU the answers beforehand, and lhen I'll put you to the test and see if you were reaUy listening carefully. Now the main question is "Did you feed my cow," and your answer is "YES MA'M" - in rhythm!

Ella: Now, did you feed my cow? YES, MA'M Could you tell me how? YES,MA'M

(Spoken): I'll say "What did you feed her?" and you'll say "corn and hay,"

What did you feed her? CORN AND HAY What did you feed her? CORN AND HAY

Well, did you milk her good? YES, MA'M Well, did you milk her like you should? YES, MA'M

(Spoken): I'll say, "How did you milk her?" Now, this is a farm that doesn't have too much in the way of machinery, so we'll have to milk by hand, And you put your hands in the position of milking a cow, and we'll simply say:

How did you milk her? SQUISH SQUISH SQUISH (hand motions) How did you milk her? SQUISH SQUISH SQUISH,

Did my cow get sick? YES, MA'M Was she covered with tick? YES, MA'M, How did she die? UHN UHN UHN (Shake your headJrom side to side) How did she die? UHN UHN UHN

Did the buzzards come? YES, MA'M Oh, did the buzzards come? YES, MA'M

(Spoken): Now, buzzards are very large birds, and they have long wing expanse so they can reach far and wide, And so we'll say, "How did they come?" They came "Flop flop flop," Except you'll spread your wings--your arms, and, but--watch out for your neighbor, All right:

How did they come? FLOP FLOP FLOP How did they come? FLOP FLOP FLOP,

Hl-lo Tone Block struck os a Tom-Tom

(Spoken): All right, this time you should know all the answers, so I'll simply ask the questions.

Repeat the entire song, with the leader asking the questions and the group singing the response, Ella asks "How did they come?" one extra time at the end of song,

MISS MARY MACK (Trad .. words; music by Ella Jenkins. c.1966 River Bend Music. Inc .. N.Y .• ASCAP)

I grew up with this chant, and it is still widely sWIg by children today, Clap hands to it, and slap paLms with a part­ner, The leader sings the verse the first time, and the group joins the leader by repeating the last word (twice), The entire song is sung again by both lead­er and group, this time with claps, Second time around, fade out ending,

Miss Mary Mack, MACK, MACK All dressed in black, BLACK, BLACK, With silver buttons, BUTTONS, BUTTONS All down her back, BACK BACK, She asked her mother, MOTHER, MOTHER For fUteen cents, CENTS, CENTS To see the elephants, ELEPHANTS,

Jump the fence, FENCE, FENCE, They jumped so high, HIGH, HIGH They touched the sky, SKY SKY And they never came back, BACK, BACK 'Til the Fourth of July, LY, LY-­And they never came back, BACK, BACK 'Til the Fourth of July, LY, LV,

MAY-REE MACK (Traditional words. except the last verse; composed by Ella Jenkins. c.1966 lliver Bend Music. Inc .• N.Y .. ASCAP)

This is a dialect version of Miss Mary Mack, I'm Sure there must be a host of "Mary Macks" to be discovered, I adapted this particular version after hearing one collected by the eminent folklorist Alan Lomax, I particularly like the added syncopation and rhythm,

May-ree Mack Dressed in black Buttons all up And down her back, Hi-yo, hi-yo, hi-yo-oh, hi-yo, (originally hi y'all)

mepeat, with group participation')

Gimme a nickel GiJnme a dime See my honey-baby All the time, Hi-yo, hi-yo, hi-yo-oh, hi-yo,

mepeat with group,)

(I) went to the river (rivah) Couldn't get across, Got in trouble With my boss, Hi-yo, hi-yo, lli-yo-oh, hi-yo,

mepeat with group,)

(Then repeat entire song, with leader and group, Fade out ending,)

YOU'll SING A SONG AND I'LL SING A SONG (REVIEW)

Leader sings first verse alone; then group repeats, (During group singing, there is baritone ukulele accompani­ment on the record, but no singing is heard, The last verse is sung by leader and group,)

DULCE DULCE (Composed by EUa Jenkins. c.1966 River Bend MUSic. Inc., N.Y., ASCAP)

Here's a little chant with a Spanish title, "Dulce, Dulce," It means "sweet, sweet." Children Uke to experiment with unusual sounds, Songs from other countries and different languages intro­duce them to new sounds and cultural concepts.

Spoken: Dulce dulce, , , clap clap Dulce dulce, , , clap clap Dulce dulce, , , clap clap Dulce dulce, , , clap clap

Ella sings: Dulce dulce dulce, Ma-ma

Hl-lo Tone Block scraped as a Gulro

Group repeats: Dulce dulce dulce, Ma-ma

Ella: Dulce dulce dulce, Pa-pa

Group: Dulce dulce dulce, Pa-pa

Ella: Dulce dulce dulce, Chickeecha (make-up word, used as pet name Jor chicken)

Group (whispering): Chickeecha, chickeecha, chickeecha, chickeecha,

(Entire song is then repeated as above,)

MAY-REE MACK (REVIEW)

Leader sings first; group repeats,

MAORI INDIAN BAntE CHANT (Adapted by Ella Jenkins. c.1966 River Bend Music. Inc., N.Y .• ASCAP)

I collected this chant from Dennis O'Sullivan of New Zealand when con­ducling a workshop in Idallo. The Maori Indians are from New Zealand, The following words are the approxi­mate phonetics I recaU,

Begin the chant by slapping the thighs, Continue throughout the chant, and jump up as high as you can on WHEE-TEE-TAY-RAH, This is my adaptation of the chant.

Leader: Karnah-tey, kamall-tey

Group: Cow-rull, cow-rull

Leader: KamalHey, kamall-tey

Group: Cow-rull, cow-rull,

Leader: Ooo-pah-ney, oo-pah-ney

Group: Ooh-pall-ney, oo-pah-ney

Leader: Cow-pah-ney, cow-pah-new

Group: Cow-pall-ney, cow-pah-ney,

Leader: Whee-tee-tay-rah (arm in air. fist clenched, showing victory)

Group: Whee-tee-tay-rah (same gestures)

Leader: WHEE-TEE-TAY-RAH (jump high with arm upward, clenched fist)

Group: WHEE-TEE-TAY-RAH (same action),

DID YOU FEED MY COW? (REVIEW)

(Leader asks questions: group responds. Baritone ukulele accompani­menL)

Second time: (Instead of answering with the words, clap hands to the rhyUun.)

Third time: (Response is WiUl "lIi-lo" tone block.)

I SAW (Composed by ElJa Jenkins. c.1966 River Bend Music. Inc .. N.Y .. ASCAP)

This is an unlimited study chant. Simply add your own category. Here is an opportunity for children to think about, retain, and sbare some of their experiences. The Hi-Io tone block is used.

I was walking down the street The other day, And I saw a rriend Coming my way. I said, dear, dear friend, Where have you been? She said I've been to Paris And I'm going again. I said, dear, dear friend, What did you see? And this is what She said to me ...

I saw the EIFFEL TOWER (a Paris landmark)

I saw the RUE DE LA PAlX (an elegant Parisian street)

I saw the GENDARMES - those are the policemen of Paris

I saw the CHAMPS ELYSEES -that's a famous boulevard in Paris

I saw the ARC DE TRIOMPHE. (A famous monument)

SIFTING IN THE SAND (Traditional. in part; adapted by Ella Jenkins. c.1966 River Bend Music. Inc .. N.Y .. ASCAP) Voice #1 is Ann Storr.

Voice #2 is Tom Garr.

This chant is to arouse a feeling of sus­pense, which should be created by each child's inflections. This chant might be of particular interest to drama stu­dents. or to camp counselors or teach­ers who like to tell ghost and mystery stories.

Voice #1: I'm on your nrst step

Group whispers: Sifting in the sand

Voice #2: I'm in the kitchen with a potato in my hand.

Voice # 1: I'm on your second step

Group whispers: Sifting in the sand

Voice #2: I'm in the kitchen with a potato in my hand.

I'm on your third, fourth step; door step: in your living room; dining room, etc.

When it comes to "I'm in your KITCHEN: Voice #2 replies: "AND I'M OUT TilE BACK DOOR WITH A POTA­TO IN MY HAND!"

GUIDE ME (TradiLional tune adapted by a Southern student group. Tenor banjo accompaniment.)

I learned this song from the Pittsburgh folk singer Vivien Richman when we shared song-leading at Camp Henry Horner (Illinois). I have made a few additions, but have not altered the mood. This song should be rendered seriously and with sincerity, however it is to be applied.

(Hum tune through once. The leader then calls out the verse, and then sings it through with the group.)

Guide my hands While I run this race, Guide my hands While I run this race, Guide my hands While I run this race, 'Cause I don't want To run this race in vain.

Guide my feet. etc.

Guide my head, etc.

Guide my mind, etc.

Guide my heart, etc. (Sing last verse softly, fading Olll.)

Also by Ella Jenkins on SmithsonianIFolkways:

This-a-way, That-a-way (SF 45002) American Negro Folk and Work Song

Rhythms (SF 45003) Rhythms and Chants (SF 45004) My Street Begins at My flouse

(SF 45005) We Are All America's Children

(SF 45006) Adventures in Rhythm (SF 45007) Traveling with Ella Jenkins

(SF 45009)

Many other Ella Jenkins albums are scheduled Cor re-release. Please write to SmithsonianIFolkways Cor current information.

ABOUT elLA JENKINS

Ella Jenkins is known to teachers and parents throughout the United States for her contributions to the teaching and enjoyment of folk music and rhyth­mic activities for children. Miss Jenkins' records and teaching methods are used in many preschool programs, and in elementary and high schools. Her records are also being used in many federally funded programs for education (including Project Head Start).

Miss Jenkins was born in St. Louis, Missouri. She grew up in Chicago and was graduated from San Francisco State College with a major in sociology. She was a teenage program director for the Chicago YWCA for four years.

Since 1956 Miss Jenkins has devoted her time and energies to folk singing, teaching Latin-American percussion instruments, and conducting her "Rhythm Workshops." In these work­shops, Miss Jenkins developed and taught new group-singing techniques. She toured the Midwest presenting ele­mentary and high school assembly pro­grams for rural, urban, and suburban communities in a program tilled "Adventures in Rhythm." She has also held workshops in New Jersey, California, and Colorado.

The "Adventures in Rhythm" work­shops were designed to demonstrate to teachers ways to improve the child's sense of rhythm, and to help create an awareness of the many rhythmic pat­terns in daily living. From these work­shops have come the records issued by Folkways.

In July, 1963, Miss Jenkins partici­pated as a guest teacher at the Orff School in Frohnburg, Germany, at the request of Carl OrO', the composer and also creator of the Orff-Schulwerk "Music for Children" teaching method. Orlfs "Music for Children" method has been successfully introduced into some school systems in the United States-­notably, in California. Miss Jenkins' teaching methods and Mr. Orfrs are similar, since both are based on folk traditions.

Ella Jenkins has appeared in radio

and television interviews and demon­strations, as well as before camps, con­ferences, schools, educational conven­tions, and club groups. She had her own television show in Chicago in 1964-1965. She is the creator of nine records and two books. One book is a companion piece to This Is Rhythm (FC 7652). The second, The Ella Jenkins Songbook/or Children, includes several songs from this record, You'll Sing a SOllg and I'll Sing a Song (SF 45010, previous issue FC 7664).

Miss Jenkins usually tapes her records with school-children so that the children lisLenjng to the records can participate with other childreo. Miss Jenkins, and their classroom teachers.

SOME PERSONAL REFLECTIONS

Those of us who label ourselves "teach­ers of children" --whether we are music specialists or simply responsible for some aspect of a music program--must and a comfortable climate and use nec­essary resources to meet the musical needs and expressions of these chil­dren. Each must go at his own pace, using whatever techniques he finds work best, but yielding from time to time to newer, rresber ways of working, so that stagnation does not set in. Once stagnation occurs, one can be sure, one loses the children.

The songs and chants in this album are presented in the manner in which I am accustomed to working with chil­dren. It is strictly an informal approach. Tbe main goals are to inform, involve, and stimulate children to enjoy music in the easiest way possi­ble. By taking the shortest route, yet helping to sustain and retain a varied enough musical experience, informally you may introduce them to more for­mal music, which they may delve into later on.

When using tbis record. don't just use my ideas, but combine them with your own techniques and personality,. I have given some suggestions as to how one might use certain songs, and I have purposely omitted suggestions on oth-

ers. The teacher or children might do a bit of improvisation. Perhaps new moods will be created. Other instru­ments (and there are many to choose from) can be used. You may a lso apply some of the materials to studies of chil­dren from other lands.

This record is designed for listening, as well as for participation. It is struc­tured for imitating, as well as for creat­ing. The a lbum takes you only so high on the ladder. Your skills and the chil­dren's contrihutions will take you the rest of the way.

It was equally fun and refreshing to sha re this album with members of the Urban Gateways Children's Chorus, a cultural e nri chment group that meets with the Fi rst Uni tarian Churc h of Ch icago's chi ldren's chor us twice a week. The chorus is dir ected by Revere nd Christop her Moore, who helped most gene rously in removing the rough spots from the singing, and with bols tering our morale during the recording sessions.

I would be most delighted to receive letters from you regarding your use of the a lbum, an d the reactions a nd responses of the children.

It was great fun organizing the songs and chants for this album because it was very much like preparing for one of my frequent schoo l assembly pro­grams. In fact, most of the album fol­lows the general pattern of an educa­tional assemb ly. where one uses an instructive but entertaining approach with the a udience.

I feel that a truly creative assenthly involving singing should offer an abun­dance of spontaneity, and should include the participation of the children in the audience at one or another inter­val. eve n if the participation involves only humming or handclapping.

LETTERS

The children and I had anotber time of sharing when we sang for the American Camping Association nation­al convention on March 10, 1966, at the Conrad Bilton Hotel in Chicago. Over one thousand persons allend ed. We performed many songs included on this album, and invited the audience to par­ticipate in several songs and chants. Their voices rang out with enthusiasm. We were overwhelmed! At the end of the program we received even more applause. Within a few days, the fol­lowing leller was sent by the vice-presi­dent of the AC.A.:

16 March 1966

Dear Miss Jenkins:

I had hoped to have the opportunity to thank you, the Urban Gateways Childre n's Chorus, and Reverend Moore immediately following your marvelous program at our AC.A. luncheon last week . But, like many such hopes, I

missed you because of the people who came to talk to us at the speaker's table.

Truly, Miss Jenkins, your program, heightened by the warmth of your per­sonali ty, was even belter than I had dared to hope! It accomplished every­thing we desired plus. I do not need to tell you how warmly you were received by the audience, or how much we all enjoyed participating with you a nd the children. You were all so great that it even reOected on me.

In addition to my personal Ulanks, I hope you will tell the ch ildren and Reverend Moore of the high esteem and special appreciation all of us in A.C.A have for you and them. This is espe­cially true from Howard Gibbs, our new president, and from John Dreason, out past president.

I'm s tiLi hoping to meet you personal­ly, and sha ll look forward to the day when this will be possible.

Sincerely,

Miriam Friedman Bradford Woods, Martinsville, Indiana 46151

CONCLUDING REMARKS AND TWO LEnERS THAT INSPIRE

Each time I complete a new albwn I tell myself it is the last record I'll make for a long while. But as soon as the a lbwn is released a nd 1 receive a few good responses. the w hee ls start to turn aga in, and some new ideas present themselves. Before long, a new a lbum comes into being.

Perhaps what inspires me most is the actual working s ituaUon with children-­meeling with them in small. informal groups, teaching and learning from them--and then trying to record what we have achieved together.

Another source of inspiration stems from the continuous applause, from music ed ucators, for my work, and their encouraging "thank you's":

March 3, 1966

Dear Miss Jenkins:

It is a pleasure to pass along the fol ­lowing quotations received in connec­tion with the meeting: "Miss Jenkins made a very skillful presentation of ways to work WiU, children and the adul ts Ulroughout the meeting. The materia ls and vocabulary used were well chosen for Ule purpose of working with mentally retarded. The children seemed to react as an average class­room of children, due to her ski ll in U,e choice of materials and her manner of teaching. "

Thank you for being with us on this occasion.

Cordially yours,

C.C. Trillingham Superintendent of Schools County of Los Angeles

Hope you've had time to catch your breath since returning to Chicago. It is a lways such a pleasure to have you as our guest. My only regret is that the schedule was so crowded that is was impossible to take you through some of the schools and let the students meet you. Many of them asked Monday morning about you and your visiL Maybe sometime you could visit and make a recording of Folk Songs or Responses of the Rocky Mountains, etc.

Dear Ella:

May 22,1966 Boulder, Colorado

You were terrific!!!!! We have aU heard such positive comments concern­ing your workshops here in Boulder this month U,at it has been very gratify­ing to see horne-room teachers tryout many of your suggestions.

I feel you helped these classroom teachers to realize it doesn't take just formalized procedure to develop rhyth­mic responses in their students. You

Urban Gateways Children's Chorus

gave them many ideas upon which to elaborate to help several situations involving the release of tensions, etc. I can see the summer requisitions now filled with req uests for Ella Jenkins's recordings.

I would love to be notified of any new releases of yours as soon as they arc avai lable if you have such a list. We'U be watclting for any new materials under Ule name of Ella Jenkins.

We certainly enjoyed having you here both as a guest and as a friend. May you have many other visits West.

Sincerely yours,

Jo Ann C. Baird Colorado Association for Childhood Education

SPECIAL CREDITS TO:

Bernadelle Richter for her creative photographic work for the a lbum book­let.

Stu Black for his direction as recording engineer. (He is vice-president of Sound Studios of Chicago.) Be's an old , old friend, and he loves children's recordings.

Ann Erickson for contributing design ideas.

RECOMMENDED INSTRUMENTS (USED ON THIS ALBUM):

Tenor banjo (four strings - can be tuned easily, like baritone ukulele)

Baritone ukulele

Chord lyre (0 minor) - Manufactured by the Lyons Band Instruments Co. of Chicago

Finger cyothals

Ni-Io tone block - Manufactured by Peri pole Products, Lnc .. of Far Rockaway, Long Island, New York.

This insert accompanies SmilhsolJian/Folkways SF 45010

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SMITHSO IANIFOLKWAYS CD SF 45010 IAIAIDI

Ella Jenkins with members of the Urban Gateways Children's Chorus You'll Sing a Song and I'll Sing a Song

1. You'll Sing a Song and I'll Sing a Song 4:20

2. Shabot Shalom 0:46

3. Cadima 1:37

4. This Train 3:02

5. Did You Feed My Cow? 3:12

6. Miss Mary Mack 1:56

7. May-ree Mack 2:11

8. You'll Sing a Song and I'll Sing a Song (review) 2:41

9. Dulce Dulce 1:16

10. May-ree Mack (review) 2:18

11 . Maori indian Battle Chant 0:31

12. Did You Feed My Cow? (review) 2:33

13. I Saw 2:29

14. Sifting in the Sand 1:10

15. Guide Me 3:02

Notes by Ella Jenkins. Photographs by Bernadelle Richter. Digitally remastered by Randy Kling at Disc Mastering,Inc., Nashville, Tennessee. Previous Folkways issue: FC 7664.

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OSmithsonian Folkways

Smithsonian/Folkways Records Office of Folklife Programs 955 L'Enfant Plaza, Suite 2600 Smithsonian Institution Washington DC 20560

®© 1989 Smithsonian/Folkways Records · Nationally distributed by Rounder Records · One Camp Street · Cambridge, Massachusetts 02140 • Printed in Canada.

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